Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving. Should there be a limit on the number of times you apply for the same opportunity before you come to the realization that they just aren’t buying what you’re selling? The[…..]
Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Vanessa Thill reviews Other Primary Structures at The Jewish Museum in New York City. In 1966, the exhibition Primary Structures: Younger American and British Sculptors filled the[…..]
From our partners at Art Practical, today we bring you author Danica Willard Sachs‘ review of Geof Oppenheimer‘s Monsters at Ratio 3 in San Francisco. This article was originally published on June 18, 2014. Geof Oppenheimer’s current solo exhibition at Ratio 3, Monsters, continues his investigation of the physical markers of violence. In previous exhibitions, such as Inside Us All There Is a Part That Would Like to[…..]
When describing his paintings, Gabriel Liston often uses words commonly associated with cinematic film creation: shot and frame, story and sketch, backstory and narrative. Many of his works—small paintings rendered in black-and-white or color—depict scenes from real events taken from the artist’s life. However, once painted, these moments from Liston’s life—due in part to their modest scale and a pervasive illusory quality—become surreal vignettes, yet[…..]
Soldier, a series of large-scale color portraits by the photographer Suzanne Opton now on view at Sikemma Jenkins, adheres to a simple framework. It features close-ups of the faces of young soldiers who recently served in Iraq or Afghanistan, all of whom assume the same position before the camera: lying prone, one cheek resting on the ground, face turned toward the camera. While this pose[…..]
“There is no difference between Time and any of the three dimensions of Space except that our consciousness moves along it.”—H.G. Wells, The Time Machine (1895) In 1992, Rirkrit Tiravanija converted the spaces of 303 Gallery in New York into a kitchen where he served rice and Thai curry to a crowd that became unwitting participants in a hybrid installation titled Untitled (Free). Seven years[…..]
Perhaps the most striking aspect of Isa Genzken: Retrospective—an expansive four-decade survey of the German artist’s work at MCA Chicago featuring sculpture, film, installation, painting, and photography—is the fact that it was all made by the same person. Over the course of her career, Genzken has successfully assimilated a wide array of styles without losing sight of a handful of core concerns: architectural structure, the[…..]
